Nathan Weatherford

I was born in Houston in 1990 and grew up addicted to Doom, Goldeneye N64, and Star Wars Galaxies. In 2018, I created Hitbox with the goal of bringing my own ambitious game idea to life using Unreal Engine. More than a decade of experience in creative and technical fields has given me the drive to always keep learning and the skillset to teach and motivate others to deliver their best work.


Hitbox Interactive 


2017 - Present

VocalPoint Consulting

Project Manager

2015 - Present

Sony Digital Imaging

Sales Trainer

2012 - 2015

Limelight Wedding Photography


2010 - 2012


Valencia College 

Associate of Arts

2009 - 2012

New York Film Academy

Directing Certification


Production Management

I first gained production experience when a New York Film Academy program landed me a gig in 2008 as a set production assistant on the TV show Unsolved Mysteries. Seeing the coordination and process efficiency of senior production immediately hooked me. I worked in various production and creative roles for TV and film until I transitioned to IT Project Management in 2015.

I was quickly promoted to VP of Project Management at VocalPoint Consulting; responsible for planning, managing, and executing complex IT infrastructure deployments for organizations with thousands of employees and multiple stakeholders.

This allowed me to start Hitbox in 2018. I consider managing production in game development to be the culmination of my production skills both in entertainment and IT. The unique challenge of managing the unholy mash up of art & code, personalities, motivations, and timelines to create a product made to bring joy is something I don't think can be found anywhere else. 

Game Production Management Experience

Examples of Work

Process document I wrote for contractors that have not used Perforce source control before: Link 

Phone system project plan presentation I prepared while consulting for a national funeral home conglomerate: Link 

Multiplayer Programming

I began programming with Blueprint in Unreal Engine in 2018 because I view implementation as the nexus of everyone's effort put into a game like a video editor is for a film. I committed to a regimen of intensive self study and eventually completed all of the Udemy and YouTube courses I could find. 

Through my many thousands of hours creating, refactoring, and fixing, I've fallen in love with being able to implement my designs to exacting detail... and the dopamine you get after solving a nasty bug

Programming Experience

System Examples

Art Direction

Environment Art Direction

Hired and directed a team consisting of an environment technical artist, level designer, and two environment artists to create open environments for multiplayer battle royale style gameplay in Unreal. 

Level documentation I wrote: Link 

Character Art Direction

Hired and directed a team consisting of three character artists and a rigger to create modular clothing for male and female base mesh. Pipeline software included Marvelous Designer, Z-Brush, Maya, Substance, and Unreal.

Clothing Pipeline process document I wrote: Link

 Character Technical Art

Animation Pipeline

Created animation and weapon systems. Hired and directed a team of animators to create first and third person animation sets for items and character. Pipeline software included Maya and Unreal.

Item rigging and character animation pipeline process document I wrote: Link

Expression & Dialogue Systems

Created character expression and localized dialogue synchronized mouth movement systems.

User Interface

Main Menu

Implemented all menu graphics. Created systems for dynamic menu camera, options menu, class selection, and cosmetic selection with Steam support. Hired and directed graphic artist.


Implemented all UI elements and systems including compass pinging, inventory, player buffs, XP, objectives, and tutorial tooltips. Hired and directed graphic artist.

Gameplay Design

I consider myself a designer first when it comes to game development because the player's perspective should always be considered regardless of the task. I study and draw inspiration from every game I play. RPG, FPS, and RTS games make up the bulk of my player experience. 

Third Person Player Design

Third person allows for greater situational awareness and immediately lets the the player know that they're now on the AI's team. Design inspired by Splinter Cell Blacklist. The ability unlock system is inspired by Elder Scrolls Online.

Example of characters I designed and implemented: Link

Design Methodology Breakdown (Expand)

AI Enemy Design

The roster of AI enemies ultimately represented types inspired by horde shooters like Left 4 Dead, Killing Floor, and Vermintide. These games make heavy use of disabler and bullet sponge enemies which posed a challenge because of design constraints that required a party be able to split up and the game not using automatic weapons. 

AI Enemy Design Breakdown (Expand)

I designed and implemented the following enemies:

Game Mode Design

The goal was to combine game modes from totally different multiplayer games to work together for unique appeal. The result was a fusion of battle royale from PUBG, asymmetry from Evolve, and horde AI from Left 4 Dead with a theme of Cowboys vs. Vampires.

Game Mode Design Breakdown (Expand)

Getting the game loop to a point where it felt intuitive was a challenge because the mechanics of each of these games are not complimentary on face value. For example, every player starting as a human and then unlocking the ability to turn into the monster was one of the most difficult things to make feel intuitive because the player is effectively switching sides mid-match. In this case, adding a character that represents the concept of evil, the demon, helped solve this issue by simplifying the concept for players that they are earning favor with the demon by taking actions against their fellow humans, with the ultimate reward of becoming the monster.

The genre mash up presented a challenge with which emotions to reinforce for the player. The obvious emotion for the overarching horror theme would be fear. However, this was at odds with both Co-op and PvP elements. The co-op experience would diminish fear by virtue of having a friend there for you. The PvP elements would diminish fear by compelling the player to increase their screen brightness and override the emotion with competitiveness. By designing to instead evoke anxiety, the game became a much more consistently emotional experience for players. For example, shifting from directing the player through a nearly completely dark forest into a jump scare to instead brightening the forest, adding view distance restricting fog, and emphasizing unsettling environmental sound design to cue a player monster nearby. 

The initial design was not feasible for me alone to execute due to the amount of gameplay actors that would need to be present such as AI traders, multiple enemy types, in-match player monster abilities, and hunter abilities. Instead, the game was broken up into design stages, emulating the game it was inspired by, to refine those specific gameplay elements. This strategy allowed me to gradually implement the initial design over the course of 3 years.

Each build was tuned with design changes from tester feedback and iteration on the inspiring game's mode took roughly 1 year each mainly due to me being sole gameplay programmer.

Audio Engineering